ROCK A RAMA
CHER - Stars (Warner Bros.)::It might have sold a million in the days when she sang harmonies and wrote answers to pre-teens about parents and pimples, but Cher has risen above that audience. Now she tries to appeal to those who expect a little talent and this album shows few signs of it.
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ROCK A RAMA
CHER - Stars (Warner Bros.)::It might have sold a million in the days when she sang harmonies and wrote answers to pre-teens about parents and pimples, but Cher has risen above that audience. Now she tries to appeal to those who expect a little talent and this album shows few signs of it. Exactly who is her audience may be the problem. Teeny-boppers don’t relate to ostentatious veneer, women are tired of being 'labeled jealous, and old men won’t let on that they may be “dirty.” If she plans to stay on top by giving young guys something to ogle, then she had best stop making albums and stick to TV appearances ’cause it’s not her voice that’s attracting them and time has a way of wrinkling even the best of us.
V.B.
EPITAPH - Outside The Law (Billingsgate) ::The Billingsgate label is the International Artists of the 70’s, with Neu taking the place of Red Krayola and Lucifer’s Friend as the 13th Floor Elevators. Epitaph fall somewhere inbetween, with a Brecht quote on the back to insure obscurity. ^
R.J.
THE DEADLY NIGHTSHADE (Phantom) ::Pussy.
R.D.
STEALER’S WHEEL - Right or Wrong (A & M)::The “Stuck In The Middle” boys are back again, pared down to the essential songwriting duo of Egan and Rafferty that always was Stealer’s Wheel. If they’d drop the stylized sneer (that at one time was the genuine streetwise rock ‘n’ rqll attitude, but no longer), and own up to the fact that they are singer-songwriters (not that such a label is a restriction to “soft” rnusic, boys), they could go over the top. As it is, this laconic and casually disdainful LP is overbearing. One great cut: “Right or Wrong.” On this song attitude comes into phase with content, creating a highly effective personal statement that may almost justify the album’s purchase.
R.D.
LOU REED - Sally Can’t Dance (RCA):: This album is final, incontrovertible proof that use of amphetamines does not, ultimately, lead to the creative act.
L.B.
THE BEATLES - Sgt. Pepper’s Lonely Hearts Club Band (Capitol) ::Mellotrons.
R.D.
BOB DYLAN - Blood op the Tracks (Columbia) ::I dreamed I saw a film of Bob Dylan singing four old songs at the San Francisco . festival. First three were kind of blah, I was thinking how dated and silly they were. I saw a car drive up, with his wife and three kids in it. She was beautiful. They sat in the car and waited for him as he sang “The Times They Are AChangin’,” except he changed the title refrain to “My time is always changing.” It was beautiful, poignant, perfectly sung. Tears came into my eyes. He looked young again with older eyes. The crowd screamed for more. He got in the car and drove away. I knew I would never hear a record of it.
L.B.
NEIL SEDAKA - Sings His Greatest Hits (RCA) ::A re-issue of finely-crafted early 60’s favorites from the boy wonder of the Brill Building. If you like the recent work Neil’s been putting out for Elton John, this is right down your alley as well: truth to tell, he really hasn’t changed that much.
J.M.
LOU REED - Live (RCA)::These are outtakes from last year’s live album, and don’t let anyone tell you otherwise. Lou sure has been churning out product lately.
j.M.
SAM RIVERS - Crystals (Impulse) ::Tiiis is Rivers’ first studio date as a leader in about seven years and it’s much more diverse and digestible than his recent live opuses. Fourteen musicians (no piano) playing six compositions ranging from shifting slags of atonal, no-tonal, bozotonal sound to a Gil Evansish piece called “Tranquility” complete with funky tuba riff. Rivers’ reed and flute work is featured and the result is an album * with depth and excitement. Better than most.
R.C.W.
ALPHONSE MOUZON - Mind Transplant (Blue Note)::Dull, directionless r&b with Mahavishnu overtones. There’s a lot qf energy here (after all, it’s a drummer’s record) but it’s held in a creative stasis that’s pretty frustrating. Makes you want to beat up John McLaughlin. May be a hit.
R.C.W.
DONALD BYRD - Stepping Into ToQ morrow (Blue Note)::The sound is terrific, the rhythms hip if not too varied, and Byrd seems VS* comfortable in his role as MOR jazz’s Golden |J Boy BUT NOTHING HAPPENS! Not a damn C thing.
R.C.W. ^
BACHMAN-TURNER - Bachman As Brave Belt (Reprise) ::Takin’ care of business? You don’t have to tell the record companies about it. Former labels are ready to go with repackages aimed at the current successes of Neil Sedaka, Linda Ronstadt, and others. Meanwhile, Reprise is here now with Brave Belt as BTO, a solid outing of non-bombastic gruff stuff a mite too subtle for global attention, but worthy of this extra exposure.
M. K.
THE JAGGERZ • Come Again (Wooden Nickel) ::From the punks who gave us “The Rapper,” we have this uneven yet promising comeback effort. Better material is certainly needed, but hopefully they’ll get another chance. Also, Wooden Nickel records, or any other interested label, should know the Shadows of Knight are still gigging,, and the time is right for their comeback too. (What about the Mystic Astrologic Crystal Band?—Ed.)
C.L.
[This month’s Rockaramas were written by Rick Johnson, Valerie Berman, Robert Duncan, Letter Bangs, John Morthland, Richard C. Walls, Michael Koehn and Charles Lamey]
